Collection of basic introductory knowledge of simplified musical notation

Simplified musical notation is a notation method developed by a Frenchman based on the staff. Its original purpose is to facilitate teaching, not for singing and singing. Play. How much do you know about simplified music theory? Below I have collected and compiled the basic introductory knowledge of simplified musical notation for you. I hope it will be helpful to you!

Basic introductory knowledge of simplified musical notation

1. Pitch of simplified musical notation

Simple musical notation uses seven Arabic numerals to represent the seven natural pitch levels in the mode, that is, 1, 2, 3, 4, 5, 6, and 7 represent do, re, mi, fa, so, la, and si. These seven numbers are the notes in the simplified musical notation. Adding a dot above the note (called the treble dot) represents one octave higher, and adding a dot below the note (called the bass dot) represents one octave lower. If you add two dots above, it means two octaves higher, and the same is true for the bottom, and so on.

Notes without dots are called "alto", notes with high dots are called "treble", and notes with low dots are called "bass". For the convenience of playing (singing), the middle range of the music is generally recorded as notes without dots (midrange). This can reduce some notation symbols and make it clearer.

Do, re, mi, fa, so, la, si only explain the relative relationship between the sounds and do not specify the absolute pitch of each sound, so at the beginning of the music ( and modulation), use a key signature to indicate the height of a certain note, so that the pitch of all other notes can be inferred. The form of the key signature is "1=C", "6=A", "2=D", etc.; the tone used as the key signature is the tonic of the mode, "1=C" means that the piece of music is in the key of C major ( Or C palace mode, the concept of national mode will be introduced below), "6=A" means A minor (or A feather mode), 2=D means D business mode. However, the more common marking method recently is to use "1" as the base tone of the key signature no matter what mode, that is, "1=C", "1=D", "1=E" and so on. The advantage of doing this is that it is clear at a glance. People often say that a song is in "C key" or "D key", which refers to the height of "1"; its main disadvantage is that it cannot reflect the mode of the music, and it is easy to interpret it in terms of expression and concept. Causing chaos. For example, a song in the minor key of "1=C" is in the key of A minor (because the height of the tonic is A);

The writing and usage of temporary note changes (sharps and flats) are the same as The staffs are completely aligned, please refer to the previous chapter.

2. Numbered musical notation duration

Simplified musical notation uses quarter notes as the basic notes, and quarter notes are usually called "one beat". The small horizontal lines behind or below the basic notes play the role of changing the duration; the small horizontal lines behind the basic notes are called "increasing time lines", and each increasing time line represents the duration unit of a basic note ( That is one beat), the following examples are one beat, two beats, three beats and four beats respectively:

Among them, a corresponds to the quarter note of the staff, b corresponds to the half note, and c corresponds to the dotted A half note, d corresponds to a whole note.

The small horizontal lines under the basic notes are called "minus time lines". Each subtractive time line reduces the duration of the basic note by half; the following example is a half beat (i.e. eighth note) and a quarter note. How to write one-quarter beat (i.e. sixteenth note):

Exactly the same as the staff, the simplified musical notation can also use dots to change the duration of the basic notes. The only difference is that there are no whole notes in the simplified musical notation. and half notes (these two kinds of notes are represented by increasing time lines), so dotted notes are only used on quarter notes and various notes smaller than quarter notes; the writing and names of dotted notes are the same as the staff , no need to go into details.

3. Stop symbol in simplified musical notation

In simplified musical notation, "0" is used to indicate rest, and the value of 0 is equivalent to a quarter note (i.e. one beat). The three methods of changing the basic note durations, namely increasing time lines, decreasing time lines, and dotted lines, can also be used on rests.

4. Simple notation pentatonic mode

As the name suggests, pentatonic mode is a mode composed of five tones (instead of seven).

Pentatonic modes widely exist in ancient Chinese and folk music, and on this basis various changes in Chinese national modes and a complete music theory system have been formed. Therefore, although pentatonic modes can be seen in traditional music in many countries and regions Style, it is often called "Chinese style" or "national style".

The five tones in the pentatonic mode are derived according to the ascending relationship of fifths; assuming it starts from do, it is:

do→so→re→la→ mi, for the sake of convenience, we use simplified musical notation to describe it below (so this part of the content is placed in the chapter "Knowledge of simplified musical notation").

Arrange these five tones in sequence, and you will get a pentatonic scale. The interval structure within the scale is fixed, and each tone has a name:

< p> Each of the five tones can be the tonic of the mode, resulting in five modes:

Gong mode: 1 2 3 5 6 (1)

Shang Mode: 2 3 5 6 1 (2)

Angle mode: 3 5 6 1 2 (3)

Angle mode: 5 6 1 2 3 (5)

Feather mode: 6 1 2 3 5 (6)

Add "high" in front of the mode name to form a complete tonal name. For example, in the Gong mode, 1=C is called "C Gong mode", when 1=D it is called "D Gong mode", when 1=E it is called "E Gong mode"...; another example is Zheng mode, when 5=C it is called "C "Zheng Tiao", when 5=D, it is called "D Zheng Tiao", when 5=E, it is called "E Zheng Tiao"...; other modes can be deduced in the same way. With the pentatonic mode as the core, there are also six-toned mode and seven-toned mode, which are modes composed of six or seven tones. In this case, the original five tones are called "zhengsheng" (or positive tones), and the newly added tones are called "partial tones" (or partial tones). There are four types of partial tones:

Bian Gong: the major second degree below the Gong sound. If 1 is a Gong, Bian Gong is 7; if 4 is Gong, Bian Gong is 3.

Clear angle: the minor second above the angle sound. If 3 is an angle, the clear angle is 4; if 6 is an angle, the clear angle is b7.

Change sign: the minor second degree below the zheng sound. If 5 is the sign, the change sign is #4.

Leap: the major second below the palace sound. If 1 is the palace, leap is b7.

The relationship between the five positive tones and the seven partial tones is:

1 2 3(4)(#4) 5 6 (b7)(7)

Gong Shang Jiao Qing Bian Zheng Yu Leong Bian

Jiao Zheng Gong

After these four partials were added, a large number of modes were produced, such as: Jia Qing

< p> The seven-tone palace mode of Jiaohe Biangong: 1 2 3 4 5 6 7 1

The six-tone feather mode of Jiabiangong: 6 7 1 2 3 5 6

The six-tone Zheng mode with Bian Gong: 5 6 7 1 2 3 5

The seven-tone Zheng mode with Qingjiao and leap: 5 6 b 7 1 2 3# 4 5

The seven-tone Zheng mode with Bian Gong and Bian Zheng: 5 6 7 1 2 3# 4 5

Different modes will produce different "flavors". If you pay more attention at ordinary times, you can judge the mode by hearing. It's not difficult. If we want to theoretically analyze and determine the mode of a musical work (here refers to Chinese folk songs or works written in national modes, works written in major and minor systems or other European modes are not included), we should do The most important thing is to (1) find out the tonic of the mode: in most cases, the music ends on the tonic. The simplest way is to first see what the ending note is, and then sing the melody again to see if the mode revolves around this note. Progressive, if it is not an exception, the tonic can be determined; (2) List the modal scales: Arrange all the notes appearing in the music upward from the tonic to the tonic one octave higher, thus listing this The scale of the mode; (3) Determine the Gongyin: Now we already know the tonic of the mode, but we still don’t know the name of the mode, so we need to know the position of the Gongyin first (and thus know the names of the other tones).

The pentatonic mode has a characteristic. There is a major third interval above the tonic and between the palace and horn sounds. Since this "gong-angle major third" is the only major third in the pentatonic mode, it is easy to judge. , based on which the location of Gongyin can be found. That is to say, after listing the scale of the mode, if there is only one major third, then it must be the palace-angular major third, and the sound below is the palace sound. If two major thirds are found in the scale, one of them must be composed of a partial tone (relatively unstable sound). You need to find this partial tone, eliminate a "false" major third, and then determine the palace sound. (4) After clarifying the four factors of tonic, scale, palace tone and pitch, the tonality of the music can be determined. The following is the Shanxi folk song "Jiaocheng Mountain". Let's use it as an example to take a look at the steps of analysis:

(1) Find the main sound. In this example, the starting sound and the ending sound are both " 5", the tonic is undoubtedly;

(2) List all the notes in the scale music in the order of appearance: 5, #4, 3, 6, 2, 1, 7, * **Seven tones; arranged from tonic to tonic, the scale is: 5, 6, 7, 1, 2, 3, #4, 5; (3) Make sure that the palace tone has three major thirds in this scale, 5-7, 1-3 and 2-#4. Analyzing the melody, we can see that #4 only appears once, which is definitely not the right note. Although 7 appears three times, it is not in the downbeat position and is just a passing note. Used, it is not the correct sound, so 5-7 and 2-#4 are "false", 1-3 is the major third of the palace angle, and 1 is the palace sound; the name of each sound is:

5 6 7 1 2 3 #4 5

Zhengyu changes into Gongshangjiao into Zheng

Gong Zheng

(4) According to the key signature "1=G" , it can be seen that the pitch of tonic 5 is D, so this piece of music is in the D mode. To be completely speaking, it is a seven-tone D mode with the addition of Bian Gong and Bian Zheng. ;